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▌────── Release Info ───────────────── ▐▌ ──────────────── ▌ ──────── ▐
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Originally released : 06-03-2003
Release date : 12-23-2003
Album name : In Person Saturday Night At The Blackhawk, C
Artist : Miles Davis
Ripped by : Rknr
Genre : Jazz
Label : Sony
Encoding Software : Lame EOS
Quality : --alt-preset standard
Tracks : 16
Size of Files : 162,7 MB
─ Track list ───────────────────────────────────────── ─── ─ ─
CD1
01 12:44 If I Were A Bell
02 12:15 So What
03 00:28 No Blues
04 12:05 On Green Dolphin Street
05 12:24 Walkin'
06 07:29 'round Midnight
07 08:02 Well You Needn't
08 00:18 The Theme
CD2
01 11:45 Autumn Leaves
02 12:29 Neo
03 04:36 Two Bass Hit
04 03:27 Bye Bye (Theme)
05 01:58 Love, I've Found You
06 05:32 I Thought About You
07 09:39 Someday My Prince Will Come
08 08:41 Softly As In A Morning Sunrise
Total time: 123:5
─ Release notes ─────────────────────────────────────── ─── ─ ─
The second volume in the (finally) complete recordings
from Miles Davis' legendary two-night stand at the
Blackhawk in 1961 with his new quintet ù which featured
Hank Mobley, Wynton Kelly, Paul Chambers, and Jimmy
Cobb ù is as stunning as the first. While this set has
been available in many different configurations in the
U.S. and Japan over the years, it has never been
complete until now. In Person Saturday Night at the
Blackhawk features no less than nine unreleased
performances ù including an unprecedented fourth set on
two CDs. The groove is quite different on Saturday
evening. Rather than the slashing bop of Sonny Rollins'
"Oleo" from Friday, a loping, bluesed-out version of
"If I Were a Bell" opens the program. Kelly's interplay
with Davis here is enlightening and inspiring; his
comps and fills dance around the trumpeter's solo
without ever punching through its center. His sense of
timing is remarkable in how he anticipates the end of
Miles' lines. He shifts gears with Mobley, who is in a
speedier Coleman Hawkins mood here and pushes the
middle harder, more percussively, as Mobley then plays
all around the changes. This gives way to an
unbelievably speedy "So What," clocking in at over 12
minutes and driven by Chambers' pizzicato bass playing.
Davis' solo in the first few choruses is more
reminiscent of his tenure with Charlie Parker than
anything of his own, except for the warmer tone. The
tune is an odyssey of harmonic invention with Kelly
acting as a bridge between Davis and Mobley, offering
wide-open sevenths and diminished fifths for each
player to wander in and out of. Kelly's solo comes
right out of the blues, pure and angular; his touch is
heavier ù deep left-hand accents and trills decorate
it.
The second set's "On Green Dolphin Street" nearly
segues into an unreleased, burning version of "Walkin'"
at almost double tempo. Miles' intensity here is truly
shocking. He drives this band ù a listen to Cobb's
timekeeping on "Walkin'" reveals just how hard this
band was striding these blues. After 12 minutes of
blinding speed and melodic invention, the complex
harmonic architecture is resolved through intricate
line interplay between Davis and Kelly and Mobley at
about five minutes and 30 seconds into the tune, and it
slips into a space where struggle ceases and the
blinding tempo becomes pure grooveology. Davis throws
the crowd ù and the band, judging by a missed cue ù a
changeup by slipping into a nearly modal, front-end
"'Round Midnight." This one swings easily and sweetly,
a bit faster than any Miles band had played it ever
before, but far slower than anything else in the first
set. And as if this weren't enough of a Monk switch,
the band closes out the set with a blazing "Well, You
Needn't" before the band's theme takes it out for
intermission. Tracks three and four on disc two are
characterized by a heretofore unissued "Autumn Leaves"
(which starts a few seconds in because the tape
recorder wasn't on in the club ù it's not an edit). An
easy, swinging, sprightly version of this chestnut is
so relaxed and free that Davis and his mute feel free
to stretch his own short notes into longer lines.
Chambers' "Two Bass Hit" is played at a blistering
tempo, with Cobb double-timing an already overdriven
ensemble. Set four is late-night Miles; the band moves
through three tunes as encores, seemingly ù gorgeous
lyrical balladry with Davis opening up large spaces in
the middle for Chambers to become the focal point of
the rhythm section. The tunes "I Thought About You" and
"Someday My Prince Will Come" swing with easy
late-night grace and charm. Chambers' insistent
one-note pulse is contrasted by Kelly's whimsical
opening solo before the verse. Miles takes it in
relaxed mode, allowing the tune to unfold rather than
be played. As if unwilling to let the audience off
easy, the end of set four closes out with another
surprise, a shifty, double-tempo read of "Softly, As in
a Morning Sunrise" that becomes a hard bop blues before
it ends abruptly, leaving the house in shambles. How
this last set was never released before is beyond
belief; thank goodness this historic document has
finally been assembled in its entirety. ù Thom Jurek
─ Contact ───────────────────────────────────────────── ─── ─ ─
Contact us @ : #eos (efnet)
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